Toofan Rani (1985)

Toofan Rani-title

I’ve only been able to find this 1985 Hindi dub of the 1983 Telugu film Puli Debba, so I’ll keep referring to it as Toofan Rani. Actually, I have found this to be the case with a few Telugu B movies. For some reason the Hindi dubs have survived and are available online in reasonable condition, but finding an original is nigh on impossible. Why is this so? And forget subs. I had to make it all up as I went so please observe the usual Adventures Without Subtitles disclaimers that events may not have transpired exactly as I imagined.

K.S.R Doss has cobbled together another excellent masala entertainment chock full of his usual tricks, plus Silk Smitha, that guy Naresh who looks like someone else, Sarath Babu and assorted others, guns blazing, a handful of marbles, and some flashy karate moves. What is not to love? And Satyam’s soundtrack is funky and grungy, and just cheesy  and disco-fied enough.

Nalini and Manohar are childhood friends and spend a lot of time being dressed for school by their family retainers and frolicking in the sand dunes in their school clothes but don’t actually seem to go to school. Mahendra Chaudhury and his wife (Nalini’s parents) are murdered by a couple of goons who also set the house on fire to destroy the evidence. Side note – most of the victims have been instructed that the correct reaction to being shot is to throw your hands in the air like you just don’t care (jazz hands optional), so the death scenes can be strangely festive. The children are dispersed into the populace according to the Infant Distribution Laws of Masala Filmidom. Don’t worry if you miss this opening scene as it will be replayed several times.

Silk Smitha has the right confident physicality for Nalini, who is out to get revenge on the men who killed her parents and baby brother. Nalini has her childhood trauma flashbacks in lurid colour which may explain why her expression sometimes says migraine rather than revenge. But whether Silk is strutting her stuff in sparkly disco bike shorts or righting wrongs in a sensible khaki leather ensemble, she is ready for anything.

As she is in a film where anything can happen and frequently does, this is a very good thing. She even has to wear a saree. Killing is bad, but a heroine who looks at all the male posturing and just shrugs and takes control is good. I know I shouldn’t, but I cheered when Nalini shot someone. Naresh and Manohar were all for taking a punt on the court system but Nalini grabbed the gun and achieved her objective, refusing to be sidelined. And honestly if it had been left to the men, we’d still be chasing the baddies around the exploding hills.

Naresh is introduced at his college Karate championships in which he beats a variety of opponents with his Blue Steel approach to Karate. There is so much Karate face. It was almost as bad as actually watching Karate again. Naresh seems to be more than a bit of a narcissist. His house is full of huge pictures of himself in karate mode, including one above his bed. I was slightly sorry for Naresh as when he won the competition it sounded like only one guy bothered to clap, but maybe that was due to budget constraint in the sound department. Unbeknown to Naresh, Hariram who gave him the award was the guy who killed his parents and older sister. Do you see where this might be going?

Hariram’s daughter Archana likes Naresh. Unfortunately for the lovebirds his ma recognises Hariram and the match is OFF. Naresh broods in a most unbecoming fashion until she hits him with the truth. He then tells Archana and she tells her dad. No one really seems to understand the concept of oversharing. Hariram sends Uncle Fester to finish Naresh off. Karate ensues. In one excellent sequence Naresh kind of Harlem Globetrotters his way through a fight, using a book. Trouble is brewing!

Inspector Manohar (Sarath Babu) is now a grown up policeman, on the trail of a mysterious smuggler. He develops grave suspicions about Hariram Uncle’s revenue sources but has no idea his father was once a silver jacketed goon. Once his suspicions are finally aroused, he tries to investigate.

I could not fault Manohar’s enthusiasm for discovering whether his dad was faking paralysis but his methodology was a bit OTT, and potentially lethal. There is a vague romance between him and Nalini but it’s nothing to write home about, except they do seem to wear colour coordinated outfits. He doesn’t even twig that she is his childhood sweetheart until she tells him, and I’m not sure he should have been smiling goofily when she was about to do jail time. Maybe Manohar is just a bit rubbish at reading people

Doss pulls out all stops and throws in all the clichés from accidentally shooting your Ma, a significant birthmark, masala deathtraps, a concealed slide entrance into the lair, and skanky item stalwart Jayamalini dancing for “Arab” businessmen.

Hariram goes home from the club with that traditional filmi entertainment; the Man In The Boot. The man is allowed to escape from a well provisioned dungeon, with shirtless Simon now It as The Man In His Boot. If you were fleeing, wouldn’t you drop a stolen car off somewhere not outside your apartment? Luckily the apartment also houses Nalini! Even her boots are weaponised, and those powerful thighs can deliver a hell of a kick.

Simon attacks Nalini and in between bouts of acrobatic biffo in her stylish boudoir she tells him she is the surviving daughter of Mahendra Chaudhury and they are all In For It. He tells Hariram who tells the mysterious smuggler in the cave. Trouble is brewing! Again!

The finale is more exuberantly amusing than thrilling, but both Silk and Naresh backflip and ninja leap like crazy, there are explosions and dodgy disguises and the camera adds another layer of skewed perspectives and angles. And never forget those sensible wedge heeled weapon ready boots.

Toofan Rani-killer boots

I’m enormously fond of the Masala B Movie as they give a platform to the smaller stories and quirkier characters, all held together by the spirit of making it up as you go. Toofan Rani is loads of fun and I enjoyed seeing Silk carry a whole film rather than just do a typical bad girl dance and die. 3 stars!

James Bond 777 (1971)

James Bond 777 DVD cover

K.S.R Doss, Superstar Krishna, Jyoti Laxmi in a double role – James Bond 777 is enormously entertaining from the funky opening music (James Bond, Triple Seven! Seven! Seven! Seveeeeen!) to the triumphant finale. And did I mention the gang of dogs who are highly skilled and organised jewel thieves?

My DVD only had the strength to share its secrets once before expiring with a load of histrionics and a strange grinding noise. The movie, missing a few songs, is online in several versions of varying quality and length (Note I screencapped from YouTube – if anyone knows who put that revolting logo on the print, please feel free to go slap them into the middle of next week for me).

Young Kishore is left orphaned after the man who will become The Boss (Satyanarayana Kaikala) breaks into the family home and kills his parents. Kishore takes off after the baddie armed with righteousness and a handy carving knife, but is wounded and thrown from the speeding car.

One alarmingly abrupt edit later, a shirtless cowboy (Shirtless, Mahesh. Your dad was SHIRTLESS) with a scar is Superstar Krishna and the theme music suggests he is James Bond Triple 7! James Bond appears to be a catchall term for a spy or intelligence officer and there is no character answering to the name, although there is some familiar music at times…Hmmmm. Krishna flings himself around with as much verve as a laid back leading man can muster, easily evading the gang who can’t shoot straight and who then wait politely for him to shoot them all in turn. It turns out that was a training exercise and Kishore has passed with flying colours. He will now go in search of The Boss to both get revenge and make the world a safer place.

Kishore disports himself with a bevy of styled up lovelies but sadly no matter what they shake or how vigorously they shake it, they can’t make his dancing actually look like dancing. Although, Krishna’s fight style is a little dancey as it seems to mostly go punch-twirl-punch-twirl so maybe the fight and dance choreographers just needed to collaborate more. I expect it is quite hard to look suavely heroic on a swing but he does his best.

Sopa (Vijayalalitha) is introduced when she sneaks up on her dad and threatens to shoot him, all in jest of course. Her dad makes a trip to Chennai and is next seen dead, in a box in the police office. In a Get Smart golden moment Kishore finds a bug planted in his mouth. And in a classic almost every Telugu film ever moment, Sopa vows to get justice.

Boss is a high tech criminal. He has a lair with all the accoutrements – Vat 69, girls looking at screens, machines that go ping, and a full array of audio-visual equipment linking him to his minions. Luckily Kishore is wise to the likes of the old exploding phone trick. Kishore does have a few tricky techie tricks of his own, and I particularly liked the watch-phone and the exploding onions. And both hero and villain are happy to go old school and use silly disguises, sleight of hand and even that filmi classic – “Snake in a Box”.

Jamila (Jyoti Laxmi) is one of Boss’s henchwoman, and she operates out of a Beauty Paraloure. A very industrial looking Paraloure, one with a branded truck. Maybe Paraloure doesn’t mean what I think they thought it meant. There is another evil henchlady, Cindy who works out of her own mini lair. She has anger management issues and a confused fashion sense, as well as excellent canine communication skillz.

Sopa and Kishore cross paths on a train, but are too busy arguing about the lights on/off etiquette of eating fruit at night to realise they have a common mission. Of course they are also staying at the same hotel, across the hall from each other. Sopa is under cover as the dancer Miss Kiss Miss, and Kishore is…Kishore. At least Sopa is well equipped for the random dance item which is an essential part of her cover.

When the dogs break into Sopa’s hotel room and menace her with their smiley faces and demands for pats and ear scratches she runs away, straight into an ambush. Luckily, Kishore is in pursuit and handily enough catches her when she jumps off a cliff pretending to have been fatally shot. Unluckily for him, she steals his motorbike and leaves him stranded. Luckily, Jamila comes by and picks him up.

Cut to Sopa pretending to be a man while talking to Boss on the walky talky while the increasingly unlucky Kishore spins around on a rapidly revolving round bed, swinging punches at assorted baddies. That Jamila, such a minx. When Sopa is chased on her motorbike, she tricks the henchmen and doubles back to steal their car. She doesn’t seem to need Kishore for much, if at all. Although she does hitch a lift with him at the end, off into the sunset, so maybe he had his uses when it came to logistics.

I could describe in detail all the brilliance of the dogs breaking into a heavily secured bank vault with naught but their briefcases, an exploding toy dog, and a whole lot of licking at complicated door mechanisms, but you really should just watch it. Go. Watch. It.


As seems common in B movies, the women are feisty and independent and don’t sit around waiting for some bloke to arrive. Kishore spends the whole film working within police channels, where Sopa is more DIY in her approach, and happily executes on her strategy regardless. Jamila and Cindy report to Boss but have some autonomy when it comes to how they carry out the big evil plan. Any woman who can dance in a sparkly outfit may do so, and men are excused from all but the most modest gyrations. After seeing her in Pistolwali, I am not really surprised that the only worthy adversary for Jyoti Laxmi is herself, and her catfight as twin sisters Rani and Jamila is a highlight (not just for the outfits, but that certainly doesn’t hurt).

James Bond 777-a cunning plan

There are lots of familiar-ish faces in the supporting cast, although I can’t put names to all of them and IMDB is not much help. Cindy’s role was relatively small and segregated from Jamila and the Kishore/Sopa plot. Kishore has a sidekick who has a propensity for comedy uncle shtick but also does useful things. And there are squads of ostentatiously kitted out bad guys and the usual light sprinkling of law enforcement personnel.

If there wasn’t enough to keep you on your toes in the plot, there are scenes combining rapid cuts, spinning camera work, extreme zoom, crazy angles, and some outfits and sets that made me very thankful this is a black and white film. And if you didn’t care to watch the film, it is really worth a listen. The soundtrack is funky and slightly grungy with surf guitars and brass overlayed with exuberant vocals.

I love this style of low budget high ambition spy caper, and with a likeable cast and fab soundtrack, this is pure gold. Plus did I mention the robber dogs? 4 stars!

Also – go read good friend Beth‘s review. This film deserves some love!



Roshagadu – why did no one tell me about you?

KSR Doss takes Chiru, Madhavi and Silk Smitha on a wild jaunt, and I was positively delighted to tag along. Any film that includes speedboat chases, ninjas, karate, and a hot pink sequinned cowboy suit has a good chance at winning me over. Add some feisty women, amazing and hilarious action, Chiru in a double role, and I could not ask for more. Well, except for decent print quality and some subtitles.

Sikander (Chiranjeevi) is a smooth criminal with an aversion to shirts. He seems to be taking advantage of the silliness of the two local crimelords, playing Tyagu (Thyagaaraju) and Bhayankar (Kannada Prabhakar) off each other and emerging triumphant with the loot. In his spare time Sikander frolics on the beach with a bevy of lovely ladies in retro bathers and sensible hats.

I like the bit where he rolls one of them into the water so he can sunbathe in her spot. A charmer, but not a gentleman.  But did I mention he has a lair! Concealed in a temple and only accessible via a secret and overly complicated thingie! The lock mechanism appears to rely on angle of the sun or time of day, although I have no idea why and it does rather limit the usefulness of the construction. Sikander also has a secret red book hidden in a secret (but unlocked) cupboard.

Main villain Bhayankar is prone to over-elaboration and has an addiction to the double cross that is almost endearing.  Amongst his assets, he has a gang of bikers whose jackets helpfully spell out KILL. Sikander pops out of Bhayankar’s car boot mid-execution, says hi and then takes both the money and the box. He has such swag! And Bhayankar has nothing to counter him with.

Tyagu is more bumbling than Bhayankar, although his style is far more flamboyant. I became quite fond of Tyagu’s henchman in the stripey top as he looked faintly embarrassed at the ridiculous shenanigans around him, and his outfit helped me identify which gang I was looking at.

Meanwhile on a train, Miss Neelima (Silk Smitha), a club dancer gets caught up in a smuggling racket when the contraband is hidden in her makeup case. The police find the diamonds but Sikander finds the police AND the diamonds. Neelima knows he is a fake, so now she knows she once had the diamonds, she wants them, and she knows who has them. However she does show appalling judgement by doing a Faux-gyptian club number with a toga clad man who is not Chiranjeevi. Silk is funny and fiery as Neelima and I really enjoyed seeing her in a more substantial role. She tackles the action scenes with energy and grit, and while Neelima uses her charms she is not just in the story for her looks.

Sikander and all the baddies disguise themselves to attend a wedding so they can steal the jewels. The others don’t know that Sikander has formed an alliance with Neelima. She impersonates the bride and after all the double double crosses go down, she whips off her mask, wig, and saree, and the game is afoot! There is a fun sequence of keepings off with the case full of bridal bling before Sikander finally scarpers with the haul.

After a bit of mutual keyhole peeping, a skanky dance ensues (and apologies, I can only find the Hindi version of some songs online). I like that while her dress seemed vaguely improvised and towellish, she had matching suede wedges. Very organised. I couldn’t quite work out why Neelima tipped Bhayankar off about the secret book and let him in to the swanky apartment. Sikander escapes and hands off The Book to a bloke on the roadside. The respite is brief as he is shot and his car crashes, eventually plunging into the sea, rendering him Completely Dead.

Srikanth (Chiru with a different hairdo) looks just like Sikander but spends his time dancing cutesy duets with Madhavi. She is from a rich family while he and his little sister seem to be a lot less well off. Madhavi’s character doesn’t get much screen time but she is quite interesting. She seemed quite forthright with her father when he took exception to Srikanth, and she doesn’t waste a lot of time on crying or pouting. She is ready to do what needs to be done from supporting Srikanth in his goals to kicking a few of her own.

Srikanth’s sister is set upon by sleazebags who decide rape is as good a way as any to while away a rainy afternoon. She puts up a very good fight and as her bro was out looking for her anyway, Srikanth is soon on the spot. He drives a tractor through the door and then repeatedly throws the rapists through each of the remaining walls. How did this building ever stand? Srikanth is seen by Tyagu’s men (bless that stripey man for gang identification). Bhayankar’s man saw him too so everyone thinks they have a chance at getting back at Sikander.

Neelima and Srikanth end up in Bhayankar’s lair. They put the pieces together – he is missing a significant mole so cannot be Sikander, and she is actually a police officer! Then they escape by pushing some cardboard boxes out of the way. I don’t think anyone in this film nailed the functional specs for their respective lairs. Bhayankar recaptures Srikanth easily enough and kidnaps his sister too. They tie Srikanth to the hood of a jeep and make him watch as they run over his sister. He escapes and swears vengeance.

He starts boot camp under Madhavi’s loving gaze and learns karate, perfects some Jedi mind trick to shoot things without looking at them, does motorcycle tricks, horse riding, stuff. Srikanth really embraced Sikander’s style. And sets his plan in motion by performing at the night club wearing a hot pink sparkly cowboy outfit.

And just when you think that might not work, a Ninja suited goon in the audience jumps up and runs away…But why no sign of Srikanth in pursuit?

Of course. He stopped to change into appropriate duelling attire.

Tyagu and Bhayankar join forces to get rid of pesky Srikanth. They kidnap Madhavi who had the secret red book. But Srikanth and Neelima are both in hot pursuit as the police largely stand back and let the vigilantes take care of justice. Silk is all kinds of awesome as Neelima goes to rescue Madhavi, and the ladies win their freedom. Doss throws EVERYTHING into the mix, starting with the duel and then adds a dollop of vehicular vengeance and a bit of “karate”.

The trove is revealed and baddies rejoice in their pick of the bling – but then a shot rings out. After an excellent fight with lots of polystyrene props being smashed, Bhayankar and Srikanth run off to the finale. They narrowly miss the ladies who have come to rescue Srikanth. They don’t seem too fussed and take the opportunity to beat everyone to a pulp. You go girls! But that’s not all. Let me just say the Karma Bus made an appearance. And it’s a good thing Srikanth was wearing sensible leather trousers.

This is a fun film that has little substance but a lot to enjoy. B movies often had the best heroines and I really liked Madhavi and Silk and their characters, with everything staying on the right side of improbable. Chiranjeevi is in his element as both the suave thief and the righteous hero. 3 ½ stars!

Roshagadu-Come get me ladies

Jwala (1985)


Jwala hails from deepest darkest 1985, and is the first collaboration between Ravi Raja Pinisetty and Chiranjeevi. It’s a typical mass effort with the added delight of Chiru in dual roles. I watched this on a terrible quality print and with no subtitles so I was quite confused until I realised there were two Chirus!

The story opens with a Chiru being washed and dressed by his Ma. He is an adult, but buttoning up his shirt seems to not be in his skillset. As it turns out, that trait runs in the family.

Jwala-the kittens know

The Chakravarthis (Annapoorna and Satyanarayana Kaikala) fight about their sons under the watchful eyes of kitten art. There’s floppy haired Yuvaraj who cannot dress himself but is respectable, and Raju who favours an up-do and also cannot dress himself, but is possibly working as a mechanic and maybe has slightly rowdy-ish tendencies.

Bhanupriya has a troubled relationship with cars. She nearly runs Yuvaraj into a ditch, he runs her off the road, she retaliates against his parked bike and flees the scene leaving a cocky note and a blank cheque. Bhanupriya’s dad is less than happy when the cheque is presented with a generous amount filled in but hardly surprised.

She flounces off to a nightclub and sees Chiru , but he doesn’t seem to care or recognise her. She goes off in a huff, casting aspersions on his ability to shake what his mama gave him, which can Only Mean One Thing. A quick change later and Chiru hits the stage that has been used in so many films I cannot name off the top of my head.

I love that he is frozen in mid-air to give people ample time to applaud. Bhanupriya is furious that his outfit is better than hers and goes home in an even bigger huff. Her house has a photo mural and a cuckoo clock so she knows Style. Her dad lectures her about huffiness. I think maybe the money was either returned or used for a good cause, but he seems to be quite OK with motorbike dude. And that was about it for her – a couple of songs and a simper, never to be seen again.

Meanwhile Janaki (Radhika) is sold out to cover a debt. Raju (Chiru) sees this go down and rescues her from the sleazy baddies.  But Raju can’t save Janaki from all harm. People are calling her second hand and men see her as an easy mark. Raju realises he can’t bash everyone up – especially the really old ladies – so he marries Janaki. They do have a conversation about something before he ties the knot but I am not sure what it was about and whether she was actually consulted. However, neither of them looks unhappy, and when they go to his house to pay respects Raju reassures her while his dad goes nuts. At least his mum welcomes her daughter in law and there is time for a group hug. Radhika is a versatile actress and she manages to build a sense of Janaki and her feelings for Raju in small unspoken ways. Despite seeming to start purely through obligation, their relationship has many moments of warmth and sweetness.


In a room with another photo mural, the brains trust of the gang meets before adjourning to the tastefully appointed lair; skeletons, eclectic art collection, taxidermy, comfortable chairs… bedazzled gloves. The flamboyant Boss (Kannada Prabhakar) has a son who has been in the US so you know he is bound to be a creep. The Son begs to be allowed to run smuggling as he thinks it will be a thrill. There is so little common sense in this family it truly is a miracle they have managed to be so successful. The Son clashes with SP Chakravarthi on the beach when smuggled goods land. It’s too dark to see what’s going on but he is killed in a gunfight and now there is Revenge to be had.

The fight choreographer seems to be obsessed with Chiru’s thighs. The action requires he crush many an evildoer betwixt them as he hangs from a beam or does an impressive handstand to snare his opponent. Van Damme’s got NOTHING on Chiru! And all that rowdy lifting kept him in good form for duets.

My copy had this ad just after one of the fight scenes. Annoying, but appropriate product placement.

Raju is framed for murder and sentenced to jail. I don’t know what happened with the film but this section is mostly shown in stills. The Boss calls Chakravarthi and tells him why he has targeted his son. This causes 1) a tearful reconciliation and b) death.

Raju breaks out of jail. Yuvaraj flies home for the funeral and is met at the airport with news his big brother is now an escaped felon. While Yuvaraj rues that the rites won’t be completed by the eldest son, Raju turns up to light the pyre. After a justice versus vengeance bro-ment, the only thing that can happen next is an abrupt jump to the gang’s tastefully appointed courtyard for an item, complete with Silk Smitha humping all the props.

Jwala-that outfit

Yuvaraj wants Raju to turn himself in but Raju is on a mission, with firm views on appropriate forms of execution. Proving that apart from the shirt button thing, the brothers also share excellent groove genes, he undertakes a gladiator mini-skirt clad dance of death.

I almost said no one saw the flaming spear coming, but…

Yuvaraj tries to arrest Allu Ramalingaiah but protection from on high thwarts his plan. Raju seems to know his brother is only going to get into trouble trying to do things legally so he stays on task. He even impersonates Yuvaraj to get close to his next victim.


The uniform was a good disguise, but once the hat comes off and the up-do is unleashed all is clear. I think the unbuttoned shirt was also a good indicator.

While Janaki sings to her fugitive Raju over the phone (oh, sorry I must have some dust in my eye), The Boss attacks her. She puts up a hell of a resistance until finally she runs out of room to fight. Raju finds her in a pool of blood. She asks him to kiss her, either for the first or last time, and she dies in his embrace. Raju is a killer and not to be lauded, but his life seems to be tidied away so neatly and with so little left that it’s a bit sad. He loses his parents, his wife, and his kid brother is on a different path.

The final showdown is brutal and silly and epic and even a little bit moving. I wasn’t really expecting one Chiru to take on the other Chiru, but then who else could stand up to a Megastar?

This is probably one for the Chiranjeevi  completists, but it’s not completely without merit for the non-fan. Bhanupriya is wasted in her small role, but Radhika stands her ground and carves out space for Janaki in a man’s story. The plot gallops along, the action is energetic, and there is just enough light relief through the songs. Bonus points for no extra comedy track. 3 stars!

Rana Vikrama


Time for another adventure without subtitles; this time the Puneeth Rajkumar starrer Rana Vikrama that released earlier this year in India and showed this weekend in Melbourne. Written and directed by Pavan Wadeyar, it’s an action movie that follows a fairly predictable path but is kept moving along by the Power Star’s charismatic presence and some good action sequences. Throw in some better than average songs, a dash of comedy, and Rana Vikrama is a more entertaining watch than the opening scenes would suggest.

The story starts with a rather over the top British Officer in the last days of the British Raj. As expected, the Viceroy (Vikram Singh) is obnoxious, controlling, vindictive and just plain evil, although since Vikram Singh overacts and has been inexplicably dubbed by someone with an East European accent he ends up more comical than villainous. Unfortunately he’s not the only victim of the poor dubbing as a number of later scenes supposedly set in London feature reporters and lackeys also badly dubbed into grammatically incorrect and oddly accented English. Skipping over these technical issues, Vikram Singh chews the scenery for a while and eventually attempts to kill upstart villager Vikrama (Puneeth Rajkumar). Naturally he is no match for the tough local who wins the day despite being beaten, weighed down by chains and shot. Twice. Take note Hollywood – that’s how hard it is to kill a real hero!

The film then flashes forward to the present day where Vikram (Puneeth Singh again) is an aspiring police officer. Despite his obvious physical fitness, he is rejected by the enrolment officer time and time again however Vikram is determined to succeed, somewhat against the wishes of his fiancée Paaru (Adah Sharma) who would prefer him to stay with her. Vikram is thrown a lifeline by the Home Minister (Girish Karnad) who appoints him as a police trainee and sends him off to investigate a missing reporter somewhere in the border between Karnataka and Maharashtra. After a few hiccups Vikram finds the spot where workers in chains are toiling away in what appears to be an open cast mine, and makes short shrift of the numerous thugs and villains overseeing the project in classic filmi hero ishstyle.

The village has been keep secret for many years due to the nefarious dealings of none other than the British Viceroy’s descendant and the richest man in Britain, Jonathan (Vikram Singh again). He’s just as prone to overacting as his grandfather but with less reason, since he’s supposed to be a successful if rather unscrupulous businessman. However once Jonathan discovers that his secret has been discovered he jets in to India and prepares to get rid of Vikram once and for all.

Before we can get to the ultimate showdown however, there is a flashback sequence which explains the opening scene and also exactly why Jonathan’s family wants the land. Vikrama is married to Gowri (Anjali) for this sequence and the couple share good chemistry making this a better pairing than Puneeth Rajkumar and Adah Sharma in the present day. Anjali also gets to swing a sword and her feisty nature fits well into the storyline making her a more memorable and likeable character. I love this song featuring Gowri and Vikrama, which has the added benefit of a gigantic drum as a stage for Vikram’s dance moves. There is always something very special about oversized musical instruments in a dance number!

Generally the songs from V. Harikrishna are catchy and the choreography and picturisations are effective with some excellent costumes and imaginative settings. The songs also fit well into the narrative, something which is often more hit and miss in an action film, but they do work well here. If only such attention to detail had carried over into the dubbing and present day Anjali’s make-up to turn her into Vikram’s grandmother. This basically doesn’t work, and casting an older actress instead would have been a better option given that Gowri has little to do in these sequences other than look old and frail (which she doesn’t) and point dramatically at significant moments in the story. There is also a heavy reliance on clips of TV news reports which dulls the impact of some of the more dramatic scenes, although overall S. Vaidhy’s cinematography is impressive.

Although the film doesn’t cover any new ground and the heroic antics are far-fetched and fairly improbable, Rana Vikrama is still fun to watch. The action sequences from Ravi Verma are well thought out and the Power Star perfectly fits the role of a rough and tough police officer. It’s Puneeth Rajkumar’s film all the way and he does an excellent job of holding the story together despite the caricature of a villain and the rather OTT final sequence. I would have liked a little more care with some of the more technical aspects, but it’s still an entertaining film and one definitely worth catching on the big screen if you can.